In 1937, at the time when he was attending nude life drawing classes at the Académie de la Grande Chaumière, Joan Miró produced a significant group of drawings. The pieces are from the period immediately following his works in which the dramatic atmosphere of 1935 and 1936 was turned into tortured shapes and acidic colours that really show the tragedy. These dramatics are followed by the mystery hidden within quasi-cryptic works, such as the series Signos y figuraciones (Signs and Figurations, 1936), or the material aggression of his series of paintings on masonite (1936), to finally lead to the period’s most representative work, Naturaleza muerta del zapato viejo (Still Life with Old Shoe, 1937). The drama would disappear little by little, giving way to a new discourse, but in 1937 Miró was going through a time when he identified with Realism, giving rise to the series of Grande Chaumière drawings, which in some aspects anticipate the vocabulary of the artist’s mature Surrealism.